Every time we bump into Anna Sui’s fruits of imagination, we just want to bow down to her for molly-coddling us with so many jewel tones and vibrant shades and with so many prints and motifs mixed in just one look. The Anna Sui fall/winter 2016-2017 RTW collection was no different, throwing us into psychedelic trance and pop culture thus allowing for the perception of the “Pop-sydelic” appellation that the designer dubbed the collection with.
The opening of the show made it crystal clear that the designer had challenged herself to delve into the most psychedelic fragments of the art history to cherry-pick the figures so close to her heart and so similar in terms of creating hectic mélange of colors and prints. We could get loads of the abstract lines, hearts and flowers and crazy color combinations happening in the works of the French sculptor and painter Niki de Saint Phalle. The famous “Nanas”, three voluptuous dancing women or the Tarot Garden hallucinogenic images were quite palpable on a series of Anna Sui garments – a baby-doll dress with poetic sleeves all enveloped with unshapely iridescent motifs, another lacy one on Jamie Bochert with two floral rounds and a heart shape was an overt innuendo to one of the dancing Nanas, while another silk midi dress was bringing some strokes of Niki de Saint Phalle’s artistry on the bottom part.
The collection was also inundated with the jewel-toned shades of the German-American painter, Richard Lindner, with the smoky red and fuchsia shades a la Japanese graphic designer and illustrator Tadanori Yokoo and with the chaotic atmosphere on the eighth studio album of the Beatles, the Sgt. Pepper’s Lonely Hearts Club Band designed by Peter Blake.
There were a lot of baby-doll dresses whether tailored out of featherweight fabrics, lace or velvet and embellished either with botanical motifs or some abstract prints, the psychedelic allure of which was just reduplicated when paired with green, red or purple tights. But those tights with itty-bitty floral prints were really cream of the crop especially when teamed with the matching dresses.
There were also kaleidoscopic maxi dresses with narrow silhouettes with bodices ranging from shirt styles to some ruffle details and a range of pantsuits and skirt suits that were a retrospective look to the Swinging Sixties, while the Mongolian coats with goat hairs whether done up in massive forms or in more petite shapes made us breathe freely again to enter into the cold season armed to the teeth.
The Anna Sui fall 2016 lineup seemed to include every possible motif – hearts, stars, tiny or large flowers, kittens, sunny lions, butterflies, bows, stripes, girls with bangs and goodness knows what else. And no wonder the Polish legendary fashion designer, Barbara Hulanicki, who was sitting front row and who had chipped in the design of a baby-doll dress of the collection, called Anna Sui the master to mix the patterns, who had the upper hand over the other designers in the sphere, for sure.
Photos courtesy of Vogue